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12 Cards in this Set
- Front
- Back
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Cinematography in In Bruges
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Eigil Bryld the cinematographer succeeds in using the look of the movie to add depth and texture to the story. The cliche is that the setting is like another character in a story, but in the case of In Bruges it is features as prominently as the title. The (MCU) shots composed with Gleeson and Farrel together emphasises on how mismatched and out of place the two are in Bruges.
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Mise-en-scene in The Cabinet of Caligari
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Mise-en-scene is everything within the frame. Stylistically intense with a lot of exaggeration in miss-en-scene including heavy makeup, set design (Jaggered Lines), chiaroscuro lighting (good vs evil) and acting style (extremely deliberate and overstated). Influenced heavily by the German expressionism, with the factors of communism and extreme expressionist tendency, a desire for a new society and new goal, representing a creative movement before the first World War in the 1920's.
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The Gaze in Thelma & Louise
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Traditionally, film, photography, paintings, and so on, have structured their representations as if it were a male perspective - as if the gaze was male. Thelma & Louise overturns some of these conventions such as using female protagonists and 'women-centered themes' Pitt's body (the shot of his abs) as the sexualised object that the camera gaze identifies, and the comment from Thelma: JD's "Cute Butt". These factors all produce a female gaze.
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The Gaze in Thelma & Louise
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Thelma & Louise are active in their roles as the protagonists and achieve dominance in many scenes. E.g: (Traffic cop scene where they take his symbol of power the gun)
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Auteur Theory in Rear Window
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The director is the Authorial Voice (Directors Vision). The idea that the actors have some role to play, which the auteur theory doesn't allow for the actor to develop its own meaning. But of course they do, e.g. James Bond and his style of movie creates the idea in itself. The script is the subject matter and artistically natural. In Rear Window we know very little about the characters and the voyeuristic style is present (looking but not being seen). Hitchcock's signature styles include the Hays Code and the idea of being a 'free man' which is present in Rear Window.
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Genre/Musical/Film Noir in Chinatown & Chicago
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Precode Hollywood (1903-130ish) where adult content was able to be confronted in film, such as sex, drug use, "depravity", crime, disrespect of flag etc. Film Noir conventions of a naive hero normally in over his head , no happy endings, and corruption. Chinatown explores incest, and social corruption and Gittes is represented as the naive hero drawn from classic film noir detectives..
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Genre/Musical/Film Noir in Chinatown & Chicago
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Likewise, Chicago explores adultery, crimes and Jazz as the corruption. The genre of a musical and Chicago's reconceptulisation of relationship between narrative and musical number. E.g. Roxies fantastic interpretation of the world depicted in narrative and her fantasies about fame. The editing in Funny Honey showing theatre on screen and the lighting defining the 'zones' which is connected to to the editing style.
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Sound in The Third Man
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The most common non-diegetic (anything outside the story space) sound is music, The Third Man uses most film music and the zither to represent the culture within the film (Vienna and the High Art Culture). Diagetic sounds are anything that the character involved in the story can experience. The Dialogue in Third Man can include the effect of foreign language which can be confusing and disorientating, unclear with the sense that the truth is being hidden.
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Sound in The Third Man
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Sound effects are any noise that forms part of the film soundtrack apart from the dialogue and music. The sound in the Sewer Scene builds suspense, intensifies the action, contributes to the disorientation, distinguishes the location of a sewer etc.
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French New Wave in Breathless
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Films that don't follow the normal filming conventions such as 180 degree rule, odd spatial relations, not following continuity (Jump cuts are a shift in time but not space). Allowing for the achievement of both commercial and artistic success. Breathless has many sequences that don't follow the continuity conventions, such as the scene where Michel and her boss are talking about freedom. The disjunction between sound editing and the visual editing. To end it their are no credits.
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Post Colonialism in Once Were Warriors
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Post Colonialism is the aftermath of the taking of occupied land and gaining control over it from the original owners. Once Were Warriors touches on the value of indigenous culture, acknowledging the trauma of colonialism, questions the colonists authority (the representation of the Pakeha (whites) all in authority). Showing the difference between the stereotype of NZ, with the landscape of a chaotic accentuated bleakness (abandoned cars, graffiti).
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Post Colonialism in Once Were Warriors
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All the characters develop a sense of cultural connection to the Maoritanga except Jake. (Grace with the Tanihwa and ancestral cemetery, and Boogie with the welfare officer who is also a traditional maori priest) Nick's version of the warrior is apart of the Gang, he has respect for elders and matures through gang with the transition of the Moko the transitional tattoo, which represent achievements and ancestry. Highlights the idea of Maori communities and who can wear the Moko's. Beth's journey of her full circle return to her family and ancestry, which is sparked by Grace's death. A representation of a never dying culture that has become a new hybrid in a totally different environment and the recuperation of origins.
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